B0041VYHGW EBOK (207 page)

The English Patient,
277

Enthusiasm,
469

Entr’acte,
198

EPKs.
see
electronic press kits

Eraserhead,
479

Erice, Victor,
136

establishing shot,
238

E.T.,
340

Eternity and a Day,
176

evaluation of film form,
65
–66

evaluative judgement,
65

Everest,
351

executive producer,
17

exhibition,
16

art and,
43
–47

at film festivals,
40
–41

film style affected by,
43
,
44
–45

nontheatrical,
38

screen size affected by format of,
43
,
45
–47

on television,
45
–47

theatrical,
38
–41

Exodus,
90
,
90

The Exorcist,
276
,
330
,
330
,
342
,
478

expectation

Citizen Kane
and narrative,
104
–105

feeling from,
62

in film form,
58
–60

A Movie
and,
377
–378

surprise as result of,
59

in
The Wizard of Oz,
59
–60

experimental films

abstract,
368
–374

animated film as,
388
–390

associational,
375
–381

found-footage films,
366

Fuji,
388
–390

intentions behind,
366

music videos and,
367

explicit meaning,
63

in
Man with a Movie Camera,
424
–425

in
The Thin Blue Line,
427

exploitation film production,
29
–30

exposition,
90

exposure,
170

cinematography, manipulating,
170
–171

filters altering,
170
–171

Expressionism,
461
–463

external diegetic sound,
290

The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks,
468
,
468

extras,
19

extreme close-up,
195

extreme long shot,
195

eyeline matching,
239

in continuity editing,
239
–240

Eyes Wide Shut,
27

fade-in,
223

fade-out,
223

Fahrenheit
9
/11,
351

Fahrenheit
451
,
477

Fail Safe,
142
–143,
143

Fairbanks, Douglas,
460

The Fall of the House of Usher,
368

Fallen Angels,
194
,
194

The Falls,
368

fantasies of displacement,
334

Farrow, Mia,
143

Fassbinder, Werner,
98

Fast Times at Ridgemont High,
479

fast-motion effect,
172

Faust,
463

feeling

from expectation,
62

film form and,
61
–62

in
The Wizard of Oz,
61

Fellini, Federico.
see also 8½

Casanova,
128
,
129
,
150

8
½,
27
,
91
,
97
,
125
,
128

I. Vitelloni,
474

on lighting,
131

Nights of Cabiria,
136
,
137

Feuillade, Louis,
The Vampires,
123
,
123

fidelity,
283
–284

The Fifth Element,
123
,
125

50
First Dates,
337

Fight Club,
482

fill light,
133
–134

Film About a Woman Who …,
100
,
366
,
367

film art,
454
–485

film distribution,
16

for ancillary markets,
41
–43

art and,
43
–47

film style affected by,
43
,
44
–45

internet and,
43

major/minor,
35
–37

platforming in,
36

studios and,
34

websites used for,
37
–38

wide release in,
36
–37

film emulsion

color,
11

scratching,
170

film festivals

exhibition at,
40
–41

history of,
40

film form,
4
,
55
,
57
.
see also
narrative form

content v.,
58

conventions from,
60
–61

development in,
72
–74

evaluation of,
65
–66

expectations and,
58
–60

feeling and,
61
–62

functions of,
67
–68

meaning and,
62
–65

motifs in,
68
,
70

patterns in,
69
–70

principles of,
67
–68

and social ideology,
431

sound and,
279
–280

as system,
56
–58

unity/disunity as part of,
74

variations of,
70
–72

film gauge,
11
,
12
–
13
,
13

film genre.
see also
The Western (genre)

analyzing,
330
–331

cabaretera,
328

Chungking Express
and shift in,
421

conventions and,
60
,
330

crime thrillers,
332
–334

cycles in,
335

defining,
328
–329

devotionals,
328

Heimatfilm,
328

history of,
331
,
334
–336

horror films,
340
–342

iconography in,
330

mixing,
335
–336

musicals,
342
–345

mythologicals,
328

reflectionist,
337

social functions of,
336
–337

subgenres within,
329

technology and,
331

The Western,
338
–339

film history,
454
–485

art v. entertainment and,
2
–3

editing in,
24

origins,
2
–3

single camera to multiple cameras in,
22

film marketing

The Blair Witch Project
and,
37

cross-promotion for,
38

merchandising for,
38

film movements,
454
.
see also
classical

Hollywood cinema; French impressionist

cinema; French New Wave; French surrealist

cinema; German Expressionist Cinema;

Hong Kong cinema; New Hollywood

cinema; Soviet Montage; Surrealist cinema

film noir,
409

Breathless
as,
409

The Thin Blue Line
as,
428
–429

film production

art and,
27
–28

art and different modes of,
32
–33

authorship and,
33

compromise in,
27
–28

financing in,
16
–17

modes of,
28
–32

phases of,
16

post-production phase in,
22
–27

pre-production phase in,
18

screenwriting in,
16
–17

shooting phase of,
19
–22

terms/roles in,
24
–25

film stocks,
167
–170

film style,
4
312

in
Ballet mécanique,
370

in
Breathless,
413

in
The Cabinet of Dr. Caligari,
462
,
462

in
Citizen Kane,
318
–325,
320
–325

of Coen, Joel, and Coen, Ethan,
481

of Coppola, Francis Ford,
481

of De Palma,
481

in
Do The Right Thing,
407
–408

film distribution/exhibition affecting,
43
,
44
–45

filmmakers and,
312
–313

in
Gap-Toothed Women,
355

in
Grand Illusion,
315

in
King of Comedy,
447
–448

in
The Maltese Falcon,
314
,
316

meaning from,
316

in
Meet Me in St. Louis,
433

in
Mon Oncle d’Amérique,
313
,
313

in
Ohayu,
315

organizational structure of,
314

in
Our Hospitality,
316

patterns of,
314
–315

in
The River,
363

salient techniques in,
314

of Scorcese,
480

setting and,
4
–5

in
Shadow of a Doubt,
316
–319,
317
–319

in
The Silence of the Lambs,
315
,
315

television influencing,
45
–47

in
The Thin Blue Line,
428

in
Tokyo Story,
414
–415

viewers relation to,
313
–314